Doddy

[quote name='morsefull' post='1106519' date='Jan 28 2011, 05:59 PM']Is this a good time to admit that I got introduced to Art Blakey at the Birmingham Jazz festival and didn't know who he was ??[/quote] I can't say anything.....I've met a few pop 'stars' and didn't know who they were until I saw them on telly a few days later. Off topic but kind of relative,but my Dad once owned Art Blakeys kit. It was lovely,but it got nicked after a gig.

Another reason to not bother with Tab sites then

I don't think it particularly matters. This site runs well on Safari,so I don't think it's worth buying an app for a couple of quid. I've got the Talkbass app,but that was free-Otherwise I'd still use Safari for that.

Right then...... If you are a 'brand snob' like you say,then you probably won't be happy if it's not a US Jazz. However,because you don't want to spend a great lot,your best bet is probably a Squier Classic Vibe. Unless you go secondhand of course.

The thing with Fender is that you can find good and bad models in all ranges. Some of the Mexican models are great now and are worth looking at.US models are generally great but not always.I've found the Japanese models to be my personal favourites,as they seem to consistently good quality. Let's be honest,the Squier Classic Vibes are also worth looking at right now-they're great. It's really best to try a whole bunch of them and pick the one you like most...you may be surprised. As far as where to buy them-try Johnny Roadhouse,Dawsons and PMT.

[quote name='Ghost_Bass' post='1105313' date='Jan 27 2011, 05:39 PM']The 5ers don't exist JUST to add that extra 5 steps down in tone! They exist to make life easyer to the bass player[/quote] Although the reason for adding a low B was really just to give the player an extra five lower notes to compete with keyboards.Fenders idea for a 5 was to make position playing easier though,that's why it had a high C and only 15 frets.

I can't remember who it was-it was a couple if years ago-but it was someone like Aaron Spears or Gerald Haywood,one of the guys that was getting big gigs.

[quote name='risingson' post='1105470' date='Jan 27 2011, 07:40 PM']The gospel players from the U.S make for the best session musicians because they spend all day and every day just playing and reading in church. Some of the drummers and bass players I've seen kill me, their technique is nothing less than astonishing. It's a totally different thing in the U.S and a massive phenomenon.[/quote] I'm not sure about the gospel guys making the best session players for the reasons you mention. From reading interviews with a lot of the more prominent drummers and bass players there are very few who do read-it's all a 'feel' thing. I think the best guys are the ones who are working every night with different people. We all know that I'm a fan of chops,but there is just something about these guys that doesn't do it for me at all. I read an interview with one guy in Modern Drummer and he said that they have to show off their chops or else they would lose the gigs.I think that must be why I think the a lot of the modern gospel players seem like they want to blow all the time-often inappropriately. It's rare to hear them(especially drummers) just lay it down without flash.

Pubs-generally 2x45 mins or sometimes the second set may be an hour. To be homest,I think doing the length of time that the OP does can be pretty harmful to some situations. I've seen it where a band may be looking for a venue to play and the landlords will be hesitant to pay for them because they know that some bands will play all night for a lot less. Also,it only takes one or two bands to play a 2 hour second set,and pretty soon landlords will start expecting it from all their other bands,without making any adjustment financially.

Yeah,Sharay has been mentioned a few times on here. I've got to be honest though,I'm not particularly keen on the whole 'Gospel Chops' thing.

What connection is the DI out on your amp? That cable will work if you have a 1/4" out of your amp as most desks receive the male XLR. If you need XLR out to 1/4" in then it will probably be wrong-you'll need a female XLR. If you have an XLR output you'd be better of buying a male/female XLR cable

Why would you suggest practising the modes in that particular order,rather than according to their scale degree?

The thing is,you know where you are when you plug in a Precision or a Jazz-they just work. I don't think that everyone that uses that uses them on the mainstream music channels does so because of image. Is image the reason that a few years ago everyone played or wanted a Warwick? Or was it because they are good instruments? You could call 'image' on most instruments,but ultimately if it doesn't sound or feel good then people wouldn't buy them.....and Fender do make good instruments.

Yeah...that happens What two tunes have you learnt and what parts-melody?,walking over the changes?

[quote name='The Burpster' post='1104036' date='Jan 26 2011, 05:02 PM']That's the sad reality, whilst there are oooodles of basses out there better made, better QC'd, cleverer and more tonally proficient, if you're playing live, folks understand if you play a Fender.... ....whatever..... [/quote] Or.....People really like Fenders (strange I know). I know that even with all my fancy instruments,my 'go-to' basses are Fenders.

[quote name='bumnote' post='1104122' date='Jan 26 2011, 06:09 PM']Steve Pocaro[/quote] I think you mean Jeff Porcaro.....Steve is his keyboard playing brother,and of course Mike plays bass. There dad,Joe, is a great drummer too.

[quote name='purpleblob' post='1103711' date='Jan 26 2011, 02:25 PM']Neil Peart and if we could bring him back John Bonham, Michael Shrieve would prob. be another.[/quote] Peart would only jam if he was able to rehearse for a few weeks before hand

Steve Gadd,Dave Weckl,Gregg Bissonette,Jojo Mayer,Pat Petrillo,Billy Cobham,Adam Deitch,Vinnie Colaiuta,Abe Laborial Jr,Gary Novak,Curt Bisquera......there are tons of them I could mention.

Wait until you get to the last chord!!

If you are pretty solid on the major and minor scales and their pentatonics,you are off to a good start. Maybe take a look at the various minor scales-natural/melodic/harmonic. If you want the most useful modes,try Dorian and Mixolydian. Ionian and Aeolian are just major and minor. I'd recommend taking a look at arpeggios over some of the more 'exotic' scales. They're all important,but you'll probably get more use from arpeggios. Check out a book like 'Chord Studies' for some great study material.

Learn to read. It'll open up so many more doors than using solely your ear-from educational material to gigs.

It's not a problem if you look at the fingerboard-it's important to reference your position on the neck. Of course your ears are the most important thing for telling you if you are in tune or not,but a quick glance can be majorly helpful. As you get more comfortable with the instrument you will find that you naturally look at 'the board less and less.

Even taking a line from the amp is no guarantee of getting the sound you want. Club soundmen will still often put all of the bass through the subs and EQ it so that it's all low and undefined.

I love using in ear monitors,and use them pretty much all the time. One function band I play with has got rid of all amps on stage-we're all running Pod's and in ears. We get a really good sound both out front and individually,with no one fighting each other for volume. The panto I just did had all the band on in ears (via an Aviom system) with no amps at all,and it was great. I don't think that using in ears "SUCKS for bass" at all. I'd happily use them with no backline at any gig. They've also helped me to improve my singing,because I can hear all the vocals clearly and can sing without having to strain

My Tobias and Roscoe live in their own branded hardcases,but everything else lives on a stand and gets transported in a gig bag. My Shuker lives in my iGig case. I've got a couple of hardcases but I never use them ever. The iGig offers as much protection and is way more practical.